Axxomovies Watch Full The Irishman

Directed by=Martin Scorsese / reviews=Frank "The Irishman" Sheeran is a man with a lot on his mind. The former labor union high official and hitman, learned to kill serving in Italy during the Second World War. He now looks back on his life and the hits that defined his mob career, maintaining connections with the Bufalino crime family. In particular, the part he claims to have played in the disappearance of his life-long friend, Jimmy Hoffa, the former president of the International Brotherhood of Teamsters, who mysteriously vanished in late July 1975 at the age of 62 / 282045 vote / USA / runtime=209 m / &ref(,0,182,268_AL_.jpg)


I love Goodfellas but this one is my new favorite. A lot of people say it's boring, but that's the best part. It feels like real life. You can see the decision making in real time. It's not that fun but I prefer to get inside the mind of people who live like this and I think the movie delivered. I like the actors so much I miss them, we all know they are legends though. Why this movie is so special to me is because usually these types of movies are about the violence or the money. Money is usually the main motivator. In this movie the main motivator is power. Power is what these people are living for. It's not an action movie it's a thinking movie, each mobster is thinking about what's the right move, and I feel that's more accurate to reality.
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Long film but, it is required. The build up is amazing. Must watch

Watch Full ??Ñ?don du sang. It's hard to watch De Niro try to pass as a 30-40 year old up and coming mafia associate when he's pushing late 70's. Other than that, it was a good movie with the same feel we'd expect from Scorsese, De Niro, and Pesci. A must watch regardless.

Watch Full ??n i n g. Scorsese's return to perhaps his most potent genre is a subtle slow-burn that maybe comes the closest out of any of his prior titles to outright decry the lifestyle it depicts. This is done via a phenomenal epilogue that sees the piece simply fade out, around thirty minutes after what's essentially its ending, rather than explode in some sort of blaze of glory. It's a remarkably effective choice, ensuring that any waylaid claims of glamorisation are put to rest before the lights come on. In this regard, the difference between this picture and, say, Goodfellas (1990) is rather slight; it's certainly tangible, though, a definite effort to compound its message rather than leave it completely up to audience interpretation. Though comparisons between 'The Irishman (2019) and its previously mentioned ancestor are inevitable (and, even, valid) the two movies couldn't be more different when it comes to everything other than their genres and their barebones plots. This affair feels decidedly mature, an underplayed exploration of character that uses crime more as a backdrop than a narrative focus. It crafts a palpable world whose terms are written in euphemism and whose debts are paid with blood. It never feels preoccupied with its seedy dealings, refusing to revel in them and instead nonchalantly presenting them as a fact of life for its characters. Its violence is quick, dirty and effective, nothing more than a means to an end. There's less focus on it, even if it's still as prevalent as ever. The narrative moves at its own pace, presented as a series of flashbacks narrated by its protagonist. It seems like the elaborate, matter-of-fact and occasionally confused confession of a dying man desperate to get his misdeeds off his chest before they finish him for good. For the most part, this works well, going some way in justifying the flick's fairly messy structure. It's necessary, even if it sometimes runs into the technique's usual issues with telling instead of showing, and it's delivered excellently by 'old man' DeNiro. The performances are great across the board, with many actors playing against type and turning in some of their best work. Pesci, especially, is great, returning as a major player after a twenty year hiatus from such roles. The digital ageing is a little rocky in places but it isn't distracting. After a while, you forget about the special effects wizardry and focus on the time-hopping narrative. It's probably the best way such a narrative could be presented, actually. The entire affair is decidedly considered, seemingly conceived to be exactly what it is. It's an assured experience that actually makes some relatively bold choices - especially when it comes to its flashes of 'arty' filmmaking. It does have issues, though. For one, it's very long - I mean, it's literally the longest film I've ever seen - and you can feel its length. It seems like a good half hour could have been excised to no real detriment. It also seems more suited to a mini-series than a movie, mainly thanks to its episodic nature. It takes ages for its main point to become clear and, even then, it's only really evident in retrospect. Its main dynamic is potent, don't get me wrong; in fact, the flick becomes better and better as it bubbles to the surface in the second half. It just takes a lot of time to kick in, that's all. The thing is quite tonally inconsistent, often undercutting itself with extended, out-of-place humour. Sometimes, this adds a little layer of charisma to the characters; other times, it reduces the intended effect of the scene in which it's inserted. The picture is presented so sincerely between its comedic beats that any deviation from its usually straight-laced nature is jarring, at best. Still, an odd tone can't stop the story from being as effective as it is, even if it does occasionally dampen its effect. The experience is always engaging and, usually, just as entertaining. It works better on a scene-by-scene basis until far later than it should, but it ultimately makes for compelling, worthwhile viewing that says something without shouting about it. It's well-made, distinct and enjoyable. It's a shame that, unlike me, most people won't get to see it on the big screen. 7/10.
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